Lynn Armede  DeBeal


From the beautiful Inuit artwork here in the Northwest, and the colors of the flora in our Emerald City of Seattle every season as a child and adult, my environment has touched my are.  From my Teen years in the S.F. Bay Area -  absorbing the 1960's culture of the Filmore West and Winterland Concert posters, Berkeley Barb and other political newspaper artwork.  The flower Power art of "The Yellow Submarine", Peter Max, and the 60's Renaissance of Maxfield Parish and Art Deco.  On to the comic stylings of Dori Sede and R. Crumb,  I've taken it in and used it to to draw what I see.

My early childhood years of living overseas had me in awe when seeing the Sistine Chapel, it's beautifully painted ceilings by Michael Angelo,  it's stained glass windows.  The multitude of sculpture everywhere you turned during our travels through Italy, Germany, Holland, and Austria.   It all had an influence on my creative education.

The Italian Glass makers of Venice inspired me enough to spend 12 years as a glass worker for the micro electronic industry.  Sculpting any scrap quartz I could find into miniature trees, hanging wind chimes,  sun reflectors. The primary colors and joyful scenes of the Haitian and African, and Native American,  and Western artwork my family collected over the years.  The beautiful , ornate Asian art, wood sculptures, and metalwork my father brought back from Vietnam, Thailand and Cambodia. 

My life has been filled with beautiful artwork.  It is how I reference the world.  How the light hits a friends face during a conversation.  The dappled play of leaves's shadow dancing on the sidewalk.  How many textures of bricks on one Pioneer Square building. I'm driven to celebrate the feelings connected to the life I see with my art.



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